The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1887-07-06

The audience was one of highly intellectual
appearance closely attentive and only demon
strative in the right places, the applause, when
given coming in whore it belonged ana then
with something like musical precision and
rhythm.
piano as accompanist to William Courtney, New
York, the emf nent vocalist. MIR. Quicken is a
we'll known and popular composer. He is short.
fat, good -humored, aud during the day was
much sought after. every one desiring an intro
duction and at least word with the clever
composer. Mr.. Courtney is above the medium
height. his form well-rounded; he is a fine look
ing man. He is an Englishman by birth, born
in Monmouthshire in 1874, and has lived in this
country. in New York, nine years, during which
noted and popular teacher beside appearing
often in concerts. He has sung in Boston with the
Handel and haydn societies; withDamrosch In tina
Messiah; at the grand festival of the Seventh
Regiment to an audience of b. O00 with Gerster
soprano, Cary as contralto Whitney as basso,
and himself tenor Previous to coming to this
country he sang for five years in England in
opera He has been exceedingly busy the past
year. as in addition to his usual work, he has
sung Judas Maccabeus" at the festival at Wor-
cester; Stabat Mater and Walpurgs Nacht at
Taunton; Judas Maccabeus" at Salem; st.
Paul three times at the Petersburg Iva. fest,-
val; all the solos. Lay of the Bells" and Stabat
Mater at the Ogdensburg festival; sung the
"Prodigal Son" at Harrisburg Pa; the 'Mes-
siah" at Plattsburg, and other miscellaneous
music.
Mr.. Courtney's song recital, with which
the afternoon session began, consisted of
thirteen different selections, divided into
three parts e,,,n MISS Nealls Stevens
piano solos. His selections were: l: .Oh. Lord.
Rebuke Me Not" tPurcellJ; 2. lie Violette"
lScarlattiG 3. Would You Give the Tender
in the West" (Arne); 5. III Sogno" (PorporaE 6.
.Adeaida" (Beethovenl Z. THE Anchors
Weighed" tBraham); 8. La Bianchina" (Gordi-
giani); 9. Thou Art Flower (Rubenstein);
10. Thou Art as Flower" (Lisztl IL. "Give
Me MY Own. Again" (Schlesinger) II go:
Lovely Rose (Arthur Foote); ID. Proposals"
Mr.. Courtney received great applause. Miss
Nealie Stevens, who played an exceedingly diff
cult composition by Lszt, is blonde of hand
some appearance, graceful and agreeable man.
She enthusiastically appauded. and
was surprised by receiving, amid tumult OF
applause, large and beautiful arrangement of
flowers. For her second number she played
scherzo, tarentelle and gavotte. arranged by w.
Ct. Smith. This also was pleasing effort. and
received hearty applause.
President Lavallee then called the convention
to business but feeling somewhat fatigued and
indisposed he asked Vice president Heath to take
the chair The first essay was on Notation
and Technology, by Edward Fisher, of Toronto.
Canada, in which the author called attention to
many devices in the writing and teaching OF
music that might be readily and advantageously
discarded.
On the same subject. taking opposing view.
was paper from A. r. Parsons. OF New York.
who was unable to attend L. was read oy ;:
n Penfeld of New York The paper held that
the first step towards the improvement OF the
notation must be to learn the degree of its pres
ent adaptation to the end it serves and this can
be learned only by examining the material with
which it has to deal. the possibilities open to 1t
in the treatment of that material and the path
it actually follows. 1T is apparent that iDdivld-
ual tones, like individuals in general, are most
conveniently and precisely designated by name.
E, G., B, d, used like the personal
names of the individuals OF a regiment. since
these remain unchanged through all
changes of signature and regardless of what par
ticular tone may serve as tonic or dominant;
whereas. in the tonic-sol-fa system the tones
bear, it were, not personal but official titles,
in a regiment the colonelcy survives all
changes of individuals occupying the office.
The king is dead; long live the king; the tonic
is changed, hail to the tonic! LII, then, tones
can be thus precisely designated by name, why
bother with either learning writing lines.
notes and all the accessories of staff notation,
when in the case of each tone simple letter
with mark indicating the precise
octave meant would with two strokes
of the pen end the matter! me
designate the component tones of a composition
singly, and wholly impossible to represent to
the eye either meodic o. harmonic contours.
Accordingly these contours must either remain
unrecognized or else be realized by an effort OF
the imagination. Staff notation, on the other
hand. reveals TO the eye at glance the entire
inner and outer structure Of a tone composition.
Tones being related to music as facts are to
knowledge, staff notation alone promotes thor
ough knowledge OF music for It alone EXHIBITS TO
the eye the groupings which the music presents
to the hearing. The musician is able
at glance not only to discern the
general good bad appearance of
given composition, but also from the
groupings of the notes upon the staff and the
contour of their SUGGESTIONS to infer the forces
and MOODS capable OF explaining those appear
ances and to determine his Interpretation OF the
composition accordingly. The ability to draw
such differences IS what Bach demanded from the
player when he sent out his clavier composite ns
wholly without legato or staccato marks or 81 gns
of expression. The same ability is wisely de-
manded by the American college OF musicians
when candidates for certain degrees are required
to supply all needful signs of expression
and delivery to piece Of music printed,
Bach fashion, without any such indie atoms. Let
all who use staff notation seek to understand 1t
better and appreciate it more; while as for
would -be improvers of 1t, let them severely ao-
stain from tampering with its lines, and, first
studying the principles OF stan notation as II Is
sariously applied elsewhere. let them render it
in music not less but still more beautifully ex-
pressive drawing than it already Is or else
forever hold their peace"
Mr.. Penfield, who read the paper, discussed
the subject briefly and happily and was fol-
lowed by Herve D. Wilkins, of Rochester. n. Y,
who made a suggestion or two
Needs of the Musical Profession" paper by
John H. Cover. musical doctor, of Oxford,
England. read ,by Mr. Penfeld to whom it
had been sent by the author He held that
music is a poetical element of existence, in all
countries and in all walks OF lfe and exerts a
decided influence upon individual and natural
character 1t is of the greatest importance that
the ranks of the musical profession should be
filed by cultivated men and that impostors and
the unskillful should be kept out Examlna-
tions have succeeded in purifying other profess
sions and will. if rightly conducted, do so in the
musical profession, and the sooner a movement
is made in this matter to check lmpostors
the better it will be for the musical art.
DR.. Cover suggested distinct libraries of music
and musical literature and spoke of building up
the hor or, morals and etiquette of the profes-
sion. The publication of good music should be
encouraged. Large fortunes have been made In
publishing the most transcendant rubbish the
heart of man could conceive, while meritorious
compositions had been disregarded. Music
should be publish ed for musics sake, not merely
to sell. This might be done by publishing
club or society, and let the public know that
whatever is published by the club is worthy.
The Doctor also spoke with strong reprobation
of concert traders" who too frequently hold
musicians at their mercy. degrade art and bring
down the remuneration of the artist
Mr.. Penfeld said great need is national and
local pride. An American goes abroad, where
he recognizes all schools, but when he returns to